The Replacements
Often remembered as Paul Westerberg's group before he embarked on a modest but intriguing solo career, the Replacements were a significant '80s band, though not all that commercially successful. A discussion of the Replacements usually focuses on the belief they should have been bigger. No doubt. However, there were some brutally simple reasons for why this didn't happen. First, drug and alcohol abuse gave the group a rowdy, unpredictable reputation. You aren't going to get many new fans (who've paid hard earned money or their weekly allowance) if you can't finish the songs. Seems you can only be a decadent Rock star after you've made it and the fan base is intact. Second, the Replacements shied away from the promotional game until it was too late - and even those efforts lacked a full commitment.
Back in '79, the Stinson brothers, guitarist Bob and bassist Tommy, were in a Minneapolis garage Punk band with drummer Chris Mars. Soon guitarist/vocalist Paul Westerberg joined rounding out the early line-up.
The Replacements began their recording career in '81 with "Sorry Ma, I Forgot To Take Out The Garbage" on the indie Twin Tone label. This hardcore effort built the group's local following but did little nationally. The same held true for their next effort, the EP "Stink." The far more accessible "Hootenanny" appeared in '83 and incorporated Folk, Country and even some pop elements. Next up, "Let It Be" won critical praise and landed the group on Sire Records.
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Their major label debut "Tim" was another critical fav but the group couldn't capitalize on it. A drunken appearance on Saturday Night Live had Westerberg saying the f-word (a good way not to get invited back). Sloppy, chaotic concerts and incomprehensible videos, which garnered little airplay, followed. "With the "Tim" tour completed Bob Stinson was fired for his drug and alcohol abuse (he OD'd in '95). '87 saw the release of "Pleased To Meet Me" with the Replacements operating as a trio. The album was their most consistent and solid effort but failed to impress commercially. For the supporting tour Slim Dunlap was hired on guitar and became a permanent member at the tour's completion. The group's last stab at mass success came in '89 with the release of "Don't Tell A Soul" album. Cleaned up and making MTV ready videos, the Replacements were rewarded with a charting Rock single, "I'll Be You." Unfortunately, the song did not carry the album and it became painfully clear the Replacements were never going to connect with the music public in a big way.
Westerberg wanted to go solo but Sire killed the idea (they didn't want to "break" a performer from a "marginal" band) and advised Westerberg to focus his energies on the Replacements. The virtual solo album "All Shook Down" resulted. It used the Replacements but it also had numerous outside musicians performing under Westerberg's direction. This subdued effort resulted in Mars' departure claiming Westerberg had too much control. Steve Foley replaced him. But with the thing long out of steam, the Replacements disbanded in '91. However, their hard-edged, blasting sound accented by Westerberg's plaintive lyrics and enthused vocal style had an enormous influence on Rock's next generation, including Kurt Cobain.
Westerberg's solo career began promisingly with the song "Dyslexic Heart" on the "Singles" soundtrack but his solo albums couldn't live up to the promise. It was the Replacements all over again. Tommy Stinson found it even tougher going with his two post-Replacements bands, Bash & Pop and the mid-90s Perfect. Stinson was also part of an early edition of Moth but was long gone by their debut album.
Considering their relatively minor commercial success, it might be surprising that the Replacements had a nearly decade long recording career. But the Replacements' importance and reputation is built on their last Twin Tone release, "Let It Be" and their first two major label albums, "Tim" and "Pleased To Meet Me." These albums are as good as it gets and it gets pretty good. "Let It Be" shows the group moving away from its Punk roots toward a broader more appealing sound, but still Rockin' hard. It contains the thrashing "Favorite Things" and Westerberg's "I Will Dare." As the Replacements' primary songwriter Westerberg wrote all but one song on "Tim" ("Dose of Thunder" is a group effort). There's the shuffling "Waitress In The Sky" and Rockers "Bastard of Young" and "Hold My Life." Not entirely a one man show, "Tim" also features "Kiss Me On The Bus" with Stinson's enticing '60s style guitar. The lean "Pleased To Meet Me" is their most cohesive effort. No unbelievable highs but mercifully no thudding lows. The boppin' "Alex Chilton" and Rocker "Never Mind" are the CD's prime tracks. Looking for more, go earlier rather than later, and pick up "Hootenanny."
The compilation "All For Nothing/Nothing For All" is a two CD set. It has the Replacements best songs, including "Talent Show." The other CD highlights the group's more off-beat creations like "Beer For Breakfast" and "All He Wants To Do Is Fish." Some people (major fans) have a great affection for this side of the Replacements but it's not for everyone. Without the second disc this compilation would be hard to fault. In the end, it's better to go with the original albums released between '83 and '87.
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